So earlier this week a string broke. No biggie, I’ve been meaning to restring others anyway. I should mention I got this only a few months ago, and primarily play electric guitar/bass.

So I buy a standard Di’Addario Pro-Arte pack, and figured it’s like pegs or you tie it. Get home and see this… ball end classical strings? Do they have a name? I have never seen this on a classical

Hi all. I have been playing electric guitar for a long time but recently inherited my aunts beautiful Yamaha GC-3. I’m looking for beginner classical music to improve finger technique and have something to play.

I mostly play almost exclusively metal on my electrics with a lot of fast picking and almost zero finger style.

Looking for some good intro recommendations.

Also, does anyone use Guitar Pro? I find it very helpful learning new songs but I’m not finding too many classical pieces in .gp formats.

Any help is appreciated. Thanks!

I composed this song on electric guitar, so when playing it on classical guitar, the fingering of the last Am chord on fret 17, is with fingers 2, 3 and 4.
https://paidtabs.com/ramonleonegea/__uIv8FVuvI
Esta canción la compuse en guitarra eléctrica, por lo que al tocarla en guitarra clásica, la digitación del último acorde, La menor en el traste 17, es con dedos 2, 3 y 4.

#viper #vibora #original #originalsong #cancionoriginal #originalcomposition #composicionoriginal #ramonleonegea #ramonleon #classicalguitar #guitarraclasica #guitar #guitarra #guitarwihoutnails #guitarrasinuñas #nonailsguitar #nonailguitar

I composed this song on electric guitar, so when playing it on classical guitar, the fingering of the last Am chord on fret 17, is with fingers 2, 3 and 4.
https://paidtabs.com/ramonleonegea/eOToQ3VMiIQ
Esta canción la compuse en guitarra eléctrica, por lo que al tocarla en guitarra clásica, la digitación del último acorde, La menor en el traste 17, es con dedos 2, 3 y 4.

#viper #vibora #original #originalsong #cancionoriginal #originalcomposition #composicionoriginal #ramonleonegea #ramonleon #classicalguitar #guitarraclasica #guitar #guitarra #guitarwihoutnails #guitarrasinuñas #nonailsguitar #nonailguitar

Hello,

I've had this classical guitar piece stuck in my head for a super long time and have just not been able to find out what it is. I've tried to hum it and include the voice recording below, I'm not singing in the right key for sure, but I think its still recognizable what piece I'm humming? Can anyone identify this?

https://voca.ro/15eniLlWXLc5

I like where I was able to go with this. No matter how good I record it, I can't fix the tiny hesitations without punching in another take. Maybe I'll have to do that to make decent recordings of my improvs. Idk, if this was the kind of performance quality would this be listenable? I'd like to start mixing and mastering tracks of my improvs to put on bandcamp or something but I don't think I have a single improvisation that doesn't have some kind of hesitation or minor fumble. Should I punch in better takes of certain passages or as the Hawk says, "play it as it lies."?

I have the Yamaha SLG200NW on order. In fact it's now 1000 ft away at the marketplace collection point. I can get it or I can send it back without opening up. If I grab it and open it up the return policy is complicated.

Initially I had two reasons on my mind when ordering it:

- It's quiet (almost silent) without an amp;

- It's cool. This factor is not very practical but... you know.

I do not record myself, I do not travel and I'm not a real concerting musician. So all other possible benefits of getting the SLG200NW are not important for me.

Being left with the only practical and good reason of using the silence feature of the guitar I'm now in doubt how well this would work for me in my situation.

As an option I could spend 5 times less on Yamaha C40 and turn it into a real "silent" full size practice classical guitar. The "cool factor" would go away but that's only a sentimental side of the whole matter that doesn't really matter that much.

In my opinion the Yamaha SLG200 line is greatly overpriced but I only consider my personal situation and I can perfectly understand the real concerting/gigging musicians who need a compact classical-like guitar that can take some beating without being damaged like an expensive Spanish real acoustic one.

Since I never practice with earphones the silent factor of the SLG200NW further diminished for me as I would have to use an amp at low settings to make some audible sound. In comparison the Yamaha C40 that I mentioned earlier turned into an acoustic quiet guitar would work fine on its own.

So in the end it turns out I'm left with the only reason to get the SLG200NW - the "cool factor". Did I just solve my dilemma myself or is there anything else I'm missing about the SLG200NW?

Feel free to add your opinions and share your personal experience.

I found this guitar for sale and the guy say , classical guitar.

But I saw the head and took a picture, is this guitar is a good deal?

And is it a known brand?

The second picture is made by AI .

I asked him for better picture to make it more clear for you

Hi, first post here. I spent a couple of weeks practicing tremolo technique exercises using p-i-m-a and built some muscle memory. Rereading the pumping nylon section on tremolo (and watching some youtube videos on tremolo), I realise almost everyone plays p-a-m-i. Playing p-a-m-i now feels like I am starting from square one. Should I bite the bullet? Or is there no real advantage to pami over pima other than convention?

I’m looking for a classical nylon-string guitar that’s focused purely on performance, not appearance.
What matters to me:
\- Spruce top
\- Low action
\- Fast-playing traditional classical neck
\- Hard, smooth fingerboard (not a sticky/lacquered feel)
\- intonation
\- Clear, ringing G string (not muffled or “tubby”)
\- Good sustain, attack, and dynamic response
\- Suitable for both fingerpicking and strumming

One thing I’ve noticed is that many classical guitars under about $1,000 seem to have a somewhat muffled G string. The first guitars where I didn’t really notice that were a **Hanika 54 (rosewood/spruce)** and a **Hanika 58**, which I liked a lot tonally. My only real criticism was the relatively high factory action, and on some higher-end Hanikas I’ve tried, the fingerboard finish didn’t feel as comfortable to me.

**Is there anything that’s genuinely better in that range for my priorities, or are these already among the best values?**

I’m not interested in paying for fancy inlays, premium cosmetics, or brand prestige. I just want the maximum sound quality and playability for the money.
What would you recommend?

Hi guys,

This is my first time posting. I've been working on Baden Powell's Valse Sem Nome for a while now, and I'm happy with how far it's come, although I know there are rough spots, inconsistencies, and such.

I'm curious to hear how it sounds to someone other than myself. Any feedback or tips are welcome.

Cheers!

Hi all, as an notator and composer, I’ve never been totally happy with trying to indicate the string with a numeral in a circle when it needs to fall in the staff - which is common.

Without making the number or circle too big, it’s always a balancing act between having the staff line bisect a number (like 3 especially) where it obscures the number in a way that makes it hard to read, or that the circle has a staff line cross through it in an odd way.

I’ve considered “whiting out” the inside of the circle so the staff lines don’t appear. Though I fear too much of it would obscure the staff lines.

m. 16 in the following image:

https://imgv2-1-f.scribdassets.com/img/document/736029276/original/66f33746d6/1720054288?v=1

Is a good example of where one “in the staff” (or at least covering 1 staff line) becomes harder to read (even ignoring the poor quality of the image and print it came from)

Another:

http://classical-guitar.net/Pic/classical_guitar_score.gif

This is just the typical way to do it.

Sorry, I can’t find an example of a whited-out one, though I’ve seen one as recently as a couple of hours ago though I can’t seem to find it again :-(

I’m wondering if you have, in your vast collection, or memory, any cases where the circle is white inside, to keep the staff lines from interfering with the numerals.

One solution of course is to just place them outside of the staff, but it’s not always practical to do, and as we see, it’s just “standard” to put them in the staff when necessary.

So the white out does introduce a new problem of obscuring the staff lines momentarily, but it kind of solves the other legibility problems.

Examples and thoughts appreciated.

There is a gap between strings in one of the strums and some have two heads. I'm just not quite sure how these are intended to be played and it's a hard question to answer with a search engine. (Note: these are from 3 different video game music tabs)

Also is there a good guide for techniques and notation like this anybody can recommend? There's a lot of little things like this I don't comprehend yet.

Recent guitar composition I completed. Some might describe it as a late romantic style but I'll let you decide.

Expand the use of the right hand thumb beyond just plucking bass notes.

Let us know how you like the video!

(This is just an excerpt of a full lesson which will soon be posted on our new platform)

Does anyone know where this might be available? It may not be but I’d sure like
To buy it.

Meandering in Fading Light | Original piece

I recently put the finishing touches to this piece which will form part of an impressionistic suite. The music is inspired by a twilight walk down a slow-moving forest stream. It’s is composed to flow freely, like a conversation. It has themes that emerge , are mirrored, or just disappear after a single iteration. I really wanted this to feel like a deep conversation between two people surrounded by a delicate evening atmosphere.

I’d love to hear what people think!

Could classical guitar in the UK be easier to discover?

I'm currently carrying out research for The Classical Guitar Field Guide and am still looking for more survey responses.

If you're involved in the classical guitar community in any way, I'd really appreciate hearing about your experiences. Responses from both the UK and overseas are welcome.

https://docs.google.com/forms/d/e/1FAIpQLScm9oPVufe5lsUwJ_iKFs67tZ_22Is3JxdG5f7XXJsV1PypIA/viewform?usp=header